Painting the Town explores the origin of the phrase “Painting the Town Red” which has historical roots in the town of Melton Mowbray, one night in 1837, the Marquis of Waterford and his men whilst drunk caused mayhem throughout the town, with a few of the men literally taking brushes with red paint to part of the town. Also inspired by the ending of High Plains Drifter (1973) dir. Clint Eastwood, which sees a violent ghostly figure played by Clint Eastwood manipulate a town into doing his bidding. Ultimately advising them to paint the town red. Taking this as starting point and the newspaper accounts of the violence in Melton, which by today’s standards are exaggerated. Compared with the violence found over in America’s lawless Wild West. Focusing on the violence of the frontier America as depicted in the Western. I have chosen 4 films that have violent scenes. The sets of those scenes have been built into white model miniatures paired with the reaction of violent acts to the victims are projected into. Focusing on the effect of the violence, not the act which is often glamorised in film
- Unforgiven (1992) dir. Clint Eastwood paired opposite the Japanese remake Yurusarezaru mono (2013) Sang-il Lee. Focusing on the final scenes when the build up tension for violence is finally released in a blood bath of guns and swords.
- The Hateful Eight (2015) dir. Quentin Tarantino paired with a spaghetti Western The Great Silence (1968) dir. Sergio Corbucci both scenes are focused on the innocent parties caught up in the violence created by cowboys and bounty hunters.
Since delivering a film talk about A Kind of Loving (1962) I’ve been exploring the kitchen sink dramas of the early-mid 1960’s a purely British genre of films that explored modern life for the average person. Generally set up north and generally involving getting someone pregnant out of wedlock – a big deal back in the day. The backdrop to all of this was the gritty urban back-streets, the factories that were the backbone of modern Britain. Most produced by one studio – Woodfall and three directors who had varying success before moving in different directions. Definitely a collection of films to look out for, drama without the budget and still having an impact.
One of those Woodfall films – A Taste of Honey (1961) a comedy drama about a teenage girl Jo (Rita Tushingham) who falls pregnant after a cheeky romance with a black sailor Jimmy (Paul Danquah) whilst on shore-leave. Who was both exploring her burgeoning new adult feelings and giving into these new urges without really considering the consequences of the romance that ultimately left her pregnant and needing to then support herself. Whilst at also struggling to put up with her alcoholic mother Helen (Dora Bryan) who brought real comic timing to the film, both acting as relief and the reality of her home life not being as perfect as films of the time would have you believe. Yes you can find the odd alcoholic parent on film, but not the extent they are seen having an effect on a young daughters life.
So after a year of exploring this brand of British I noticed a more unusual film The Trap (1966) starring Tushingham also and Oliver Reed in a pioneer era Western, and even more unusual it was a British production. Set during the same era as The Revenant (2015), Man in the Wilderness (1971) and Jeremiah Johnson (1972) a pretty much untapped source for Western genre story telling. Instead focusing on post Civil War era. There’s a lot of history pre-civil war to be explored. The Trap is a rare look at British settlers in the undeveloped San-Francisco – the landscape still untouched from the gold mining boom that was probably going on elsewhere in the landscape of this film. Instead we focus on the trappers – namely a French trapper La Bete (The Beast) played by Reed with a confused accent which you learn to live with.
What really drew me to the film was the idea of a mute girl – having seen The Shape of Water (2017) on it’s release, which was a performance more reliant on acting skills than the delivery of dialogue, it allowed Tushingham to really push herself and rely more on reactions to her acting. Playing a young woman once rescued from Crow who rapped and killed her family. The shock of the events left her mute for the rest of her life. You wonder whether she will ever get over the shock and find her voice to speak again. Yet the magic of these mute roles is that a big part of you doesn’t want her to speak, it would just ruin the effect. All the build up to be destroyed with her voice. Probably raspy at best and strained, why inflict an audience with that reveal. Like most mute characters the condition comes from a place of childhood or past truama leaving them mute. The doomed hero of The Great Silence – Silence (Jean-Louis Trintignant) is left with a permanent scar and disability after witnessing his families murder. Whilst more recently Eva Green‘s Madeline in The Salvation (2014) has her tongue cut out by the hands of her captor Henry Delarue (Jeffrey Dean Morgan). The muteness of these characters does not comes from a natural disability, but one inflicted through a violent past that they must learn to live with.
For Eve (Tushingham) she is forced into a marriage of circumstance to save a family from ruin. When La Bete comes for a large sum of money from the richest man in town – (Rex Sevenoaks) whose more than willing to hand over the money to save his family. Whilst his wife (Barbara Chilcott) taking on the role of the man here uses her questionable inititative and hands over the help – Eve a woman whose unable to question her position or task. Her class does not allow her to. We see other women earlier on being auctioned off to the highest bidder, brought over on a steamboat solely for the wifely property to the local men. However this transaction is free and ensures a families future – not picked up again at the end of the film either. Leaving Eve in the care/custody of La Bete, a brute of a man who knows everything about hunting, trapping and how to survive in the wild and little about women beyond his yearning for a wife. A perfect match for the overly masculine Reed who chews up the part with relish. Life in the wild is not something that comes naturally to Eve, who slowly adapts to life in the wilderness.
Her wits are needed when a traumatic hunting accident leaves La Bete at her mercy and care. Having first to fend off a pack of wolves, before becoming a nurse and ultimately his wife in more than name. It’s a challenge that fills the third act of the film. Being pushed to her own limits to ensure that Le Bete survives the Winter. Coming out in Spring to be closer than before she has still suffering from her past that prevents her from truly being his wife. Sending her out further than she imagined, out in to the arms of her old enemy – The Crow who are more Christian than she would expect. Their depiction may not be the best, however they are shown in a more positive light, as they rescue her and nurse her back to health. Not all Native American’s are the same as the film suggests. Would this be enough to break her self inflicted muteness or will she remain silent forever. A scene near the close of the film shows potential for an outburst from Eve who later realises what she needs to be happy in life.
The Trap is not best Western, let down by it’s budget mainly. It does however allow for a focus on pure acting from a then young Tushingham who is mainly all smiles and frowns. Her face is straining to express emotions at times. Usually these roles really show what a actor is made of, here we can see she’s at the edge of her range. There are times she does rightly carry the scene, however others she’s clearly struggling most of the time opposite the literal giant of Reed whose loving being out in the elements. It’s another take on the woman as victim at the hands of the savage. The savage becomes a white trapper here who understands the land just as well as his Native counterpart. A curio of a Western that has to be seen to see how a foreign country views the American West, instead of focusing the traditional they switch to the Davy Crockett era that’s refreshing for the audience.
If I’m honest I wasn’t going to write about Rawhide (1951) I was only watching it as it sounded good from the description so there I went and recorded it on a whim almost. It doesn’t even conform to the themes I’m exploring in my work at present, or the exploration of that film I’ve mentioned far too often recently. It also bares no relation to the later long Western TV series (1959-65) which introduced us to Clint Eastwood the rest they say is history in regards that show. The film of the same name is much more forgotten today, with two actors that I have to admit aren’t my favourite either, Tyrone Power and Susan Hayward are two that have never really excited me. It seems the more I explore I find myself going in directions I never imagined. Part of that’s down to the film’s director Henry Hathaway who never failed to deliver a decent film which this is.
It’s a Western in the classical form which is something I’ve not been watching a lot of recently, wanting or finding more in the films I’ve been choosing. It’s a good old-fashioned good versus bad which is the foundation of the film, the setting of a stagecoach station is more familiar after both Comanche Station (1960) ans more recently The Hateful Eight (2015) which itself has stronger connections with the spaghetti Western The Great Silence (1968) which are more obvious and far stronger, I can’t say too much as I have yet to see the film, for now I’ll let this video do the explaining.
I can instead draw on the slightly weaker connections to Rawhide, so there will be a few spoilers here. Again most of the action takes place in a stagecoach station, yet we start at very different points. There’s a mythical introduction of the Overland Express, a stagecoach that ran from California to St Louis and back again, taking only 25 days. For the time revolutionary, today it’s incredibly slow, the nearest we’d get today is a bullet train, how times have changed. That establishes the world are going to spend the film in before moving into the characters that are treated more unconventionally. Unlike Quentin Tarantino‘s film that merely uses the stagecoach as a form of transport to bring half the characters to Minnie’s where they’re snowed in for the rest of the film. We don’t have that claustrophobia or collection of colourful characters in the earlier film which allows the characters to move more freely.
Where it really begins to show comparisons is in the big reveal in Eight when we have the long flashback and the previous parts are revealed. When the work that the four we meet at the making preparations to the guests who are yet to arrive. Of course its more overt in the later film, with the older its only a small portion of the film as Rafe Zimmerman (Hugh Marlowe) and his gang of fellow in-mates who have just escaped are preparing for the evening stage to come in. The act of fooling the passengers whilst Tom Owens (Power) and Vinnie Holt (Hayward) who are held prisoner have to fight for freedom, hopefully getting word to the morning stage which is carrying the gold that Zimmerman is waiting for.
Moving away from that connection I have to look at how the characters are dealt with, the order which they’re killed off, which is rather out of traditional sequence. We begin with Stage boss Sam Todd (Edgar Buchanan) who is usually the drunk comic relief, I’d have hoped he would have had more screen time looking at his billing in the film, compared to others. Shot down in the first 10 minutes which is quite brave for a popular supporting actor. Then at the end of the film (yes more spoilers) Zimmerman’s shot by one of his own men Tevis (Jack Elam) who is woman hungry and uncontrollable, leaving the last gunfight to take place between Tevis and Owens. Traditionally this should have been between Owens and Zimmerman, however a risks taken here, its more realistic to see infighting of a gang that crumbles at the end when it becomes all too much.
There is no real clear hero, at least a male hero as we find when the final shots come from the only woman (Hayward) in the film, much the same as Marshal Will Kane’s Quaker wife Amy Fowler Kane (Grace Kelly) who saves her husband. These two women break the mold of gunfighter’s, picking up a gun and saving the day. Owens is too much f a coward, dropping his gun at the sight of a child being shot at, instead of preventing that atrocious act being seen through. What this shows it a few things, that not all men are built to carry a gun and fight with it. Women are more than able to defend themselves. Children were also involved in these dangerous gunfight’s, something we also see in The Deadly Companions (1961) where a child’s death is at the centre of the film. The child in the earlier plays a much smaller part, which is built up for tension at the end, dangers being directed at the little girl whose in the care of her Aunt who was only trying to bring her to her paternal grandparents. This is years before we have women and children thrown into the action of The Wild Bunch (1969). Tame for sure but you have to start somewhere.
Looking quickly at the Susan Hayward who as beautiful her screen presence is she’s easily suits the West, adding both beauty whilst not being afraid to muck in as we see her digging a hole. Most women of the West are either farmers wives or dancers, she is clearly neither of those types. A single woman who takes a big risk to travel across the country with a young child in tow. I might be looking out for more of her work in future. The rests of the cast are all well-defined, I see similarities in Gratz (George Tobias) and O.B. (James Parks) yet the latter is more educated than the Mexican who simply follows orders and can’t see what is really going on around him.
Made at the beginning of the 1950’s we have a decade of more emotion and psychology entering the genre. Its a small injection of something different to the genre that is about to be shaken from its classic form to reveal more exciting imagery and ideas.